In the distance, toward the top of the painting, I’ve begun to indicate a line of shore with some more darks and some warm passages to indicate sunlight in the distance.Ĩ. I’ve begun to deepen the darks in the foreground water within the shadowed area and the reflections. This adds variety to the shadows as well as texture. Scumble: In this stage, I’ve scumbled that same dark brown hard pastel over the shadowed rocks. Additionally, I’ve reinforced the lines of the rocks – outlines, crevices – with a dark brown hard pastel.ħ. The reflections of the leftmost rocks are kept subtle and dark. For the water, I am paying particular attention to the area that has a shadow cast over it by the right rock mass – I want to make it “read” as shadow, so I keep the colors within that area cooler. I’ve made the shadowed rocks more muted made the shadowed grasses on the right rock not so garishly blue added warmth to the sunlit passages and also have begun to layer more color onto the water. Color Properties Adjustments: Here I’ve made my major adjustments to the color properties of each shape. You can the speckled, rougher texture the spray creates.Ħ. Alcohol Spray: Here is the painting after spraying with alcohol. I prefer spraying to brushing since it’s too easy to make the color muddy with a brush.ĥ. I also like the way it speckles the water. It also gives a nice, rough texture to the surface which will help suggest a rocky texture. This basically “fixes” the pastel in place. Next, I use a spray bottle of 91% isopropyl alcohol and gently spray the entire painting.
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(They are only small spots, but would be distracting if they are still revealed in the final painting.) I take care to remove as little pastel as possible. Scrub and Spray: Because I didn’t tone the paper before starting, some of the white of the Wallis paper still shows through, so I use a large bristle brush to gently massage the pastel into any white areas. For the shadowed side of the rocks, I push the color a bit more toward the intense, favoring a cool red to start later, some of this intense color will show through the more muted colors and make the painting “sparkle.”Ĥ. Block in Color: Once the initial sketch is complete, I block in the major shapes with my “first best guess” at the color. The vine charcoal is “compatible” with pastel, in that it is soft and will vanish as I add color.ģ. Darken the Outlines: Now I use a thin stick of vine charcoal to darken the outlines.
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Transfer Design: Using the same pastel pencil, I transfer the design from photo to my chosen surface freehand.Ģ.
![realtime landscaping pro 2012 demo realtime landscaping pro 2012 demo](http://static.softoware.org/data/programs/images/edificius_13870.jpg)
#Realtime landscaping pro 2012 demo professional#
The surface is white professional grade Wallis Sanded Pastel Paper, 11×22.ġ. I use light blue because it is a cool color that will work well with the other cool colors I’ll use in the painting. I want to recreate the feeling of the monumental rocks and the cool water, both shot with warm highlights, but I also want to play with the rock and water textures in a different medium.Īfter drawing a simple grid on my photograph with a fine-point Sharpie, I draw a similar grid on my surface with a light blue pastel pencil in preparation for transferring the design.
#Realtime landscaping pro 2012 demo how to#
Here is an bonus demo that Chesley Johnson shared with us on how to paint a pastel landscape.įor my studio painting Point Lobos Sublime, I will use a couple of photos, several plein air sketches for color reference, and also a studio oil painting in which I have already worked out some of the color problems. In The Artist’s Magazine‘s September issue, Maureen Bloomfield writes about Michael Chesley Johnson’s landscapes in the feature article Poetry of Earth.